Archive for the Classical music category
Over recent months, we have given out new titles from our collection. We remain with our purpose of recovering Spanish repertoire and promoting the works of new Spanish composers.
New releases that will hopefully awaken your interest.
The XIth edition of the Cadaqués Orchestra International Conducting Competition starts on the next Thursday 12 December.
Contestants and spectators could watch the different levels of the competition on line in its last edition. The recent inclusion of the Tritó label in Believe Digital’s distribution platform, has allowed the promotion of digital content. Now, we could be able to broadcast all the phases of the competition and the final concert through the Classical Channel Experience of Daily Motion.
We are proud to have been able to undertake this initiative and invite you to connect from home and follow all the details of the contest.
Sunday, Deember 15th Sala Art i Joia, Cadaqués – First round – 10:00 AM to 2:00 PM / 4:00 to 8:00 PM
Monday, December 16th Sala Art i Joia, Cadaqués – Second round – 9:00 AM to 01:00 PM / 3:00 to 5:30 PM
Tuesday, December 17th Auditori de BCN – Second round - 11:30 AM to 2:30 PM / 5:00 to 8:00 PM
Wednesday, December 18th Auditori de BCN – Third round – 10:00 AM to 2:00 PM / Semi-finals 5:30 to 8:30 PM
Thusday, December 19th Auditori de BCN – Final rehearsal 10:30 AM to 1:30 PM and Final Concert at 8:00 PM
From 1 June to September 8 the XI edition of the International Conducting Competition of the Cadaqués Orchestra is open for registration to participate.
The International Conducting Competition is devoted to conductors of all nationalities born after December 20, 1977 and will take place over 14 to December 19, 2013 with Cadaqués as a starting point.
The competition organizers will select a maximum of fifty participants from the documents submitted by the applicants. Candidates who are not selected directly may qualify for a special preliminary test that allows them, if they pass, access to the contest.
The first prize is a tour for the seasons 2013/2014, 2014/2015 and 2015/2016 conducting the 26 orchestras that collaborate with the competition.
Those are the orchestras:
- BBC Philharmonic (Manchester)
- Bilbao Orkestra Sinfonikoa
- Euskadiko Orkestra Sinfonikoa
- Joven Orquesta Nacional de España
- Koninklijk Filharmonisch Orkest van Vlaanderen (Amberes)
- Orquesta Ciudad de Granada
- Orquesta Ciudad de Málaga
- Orquesta Filarmónica de Gran Canaria
- Orquesta Pablo Sarasate de Pamplona
- Orquesta Sinfónica de Castilla y León
- Orquesta Sinfónica de Galicia
- Orquesta Sinfónica Nacional de Santo Domingo (República Dominicana)
- Orquesta Sinfónica del Principado de Asturias
- Orquesta Sinfónica de la Radiotelevisión Española
- Orquesta Sinfónica de Tenerife
- Orquesta y Coro de la Comunidad de Madrid
- Orquesta y Coro Nacionales de España
- Orquestra de Cadaqués
- Orquestra de València
- Orquestra Simfònica de Balears “Ciutat de Palma”
- Orquestra Simfònica de Barcelona i Nacional de Catalunya
- Orquestra Simfònica del Vallès
- Real Orquesta Sinfónica de Sevilla
- Real Filharmonía de Galicia
- Royal Liverpool Philharmonic
- Wiener Kammerorchester (Viena)
The jury is composed of:
Gennady Rozhdestvensky, conductor. President
Lutz Köhler, conductor
Jaime Martín, conductor from the Gävle Symfoniorkester (Suecia) and conductor of the Cadaqués Orchestra
François Bou, manager of the Orquestra Simfònica de Barcelona i Nacional de Catalunya
Cristina Rocca, directora artística de la Orchestre National de France
Louwrens Langevoort, director artístico y ejecutivo de la sala de conciertos Köhlner Philharmonie y la Orquestra de Cadaqués
The contest rules have been published on the website of the International Conducting Competition of the Cadaqués Orchestra.
Some months ago we published a volume that includes four versions for guitar of the overture that Ramon Carnicer (1789-1855) created for the opera of Rossini, Il barbiere di Siviglia.
In the prologue of the edition, thoroughly written by Josep Dolcet and Josep Maria Mangado, alluded the transcendence the scenic pieces of Ramon Carnicer had. Starting his education as a clerical musician, he started composing arrangements and editions of some scores he conducted. As expected, the audience wanted new pieces of music.
Motivated by this demand and his own capacity to experience, Carnicer composed a new overture for Il barbiere di Siviglia -very known by the audience- that resulted, even for the original composer, Rossini, better than the real overture.
The popularity some opera pieces achieved during the 19th century in Europe, made place to new versions and adaptations of the famous fragments for different instruments, such as the guitar, the piano or the little ensembles. Apparently, there exist some adaptations for guitar of Carnicer’s overture.
In this edition made by Tritó, there are included a version from 2007 by Josep María Mangado and three more facsimile editions from 19th century. The first one -version by Pelegrí- was originally published in Barcelona, from 1819. The second version, anonymous, was published in Madrid, by Manuel Carrafa’s press. The last one, by Tomás Damaz, was also published in Madrid, the 1872 by Antonio Romero.
Thanks to the intensive musicological work developed around these editions, today we have this volume that will allow guitarists, researchers and curious to compare and choose the adaptation that fits better with their interests. Our editorial team wishes to share with you, our followers, the enthusiasm with which we carried this edition, and hopes to arouse your interest.
Everyone in the team at Tritó is delighted by the composer’s success and we send him our congratulations.The panel of judges was presided over by Miguel Angel Recio Crespo, Director General of the National Institute of Performing Arts and Music (INAEM). The other members were Remedios Navarro, Silvia Márquez, Mercedes Zavala, María Luisa Manchado, Antonio Moral, Fernando Turina, Alberto Posadas (Spanish National Music Prize for Composition in 2011) and Pedro Gandía (Orquestra Barroca de Sevilla, Spanish National Music Award 2011 for Performance). Antonio Garde, Deputy Director of Music and Dance at the INAEM, acted as vice-president.Jesus Torres’s work is published by Tritó and he has also released two albums on the Tritó label: Sinfonía, Movimiento y Partita and Tres Sinfonías
Two versions of the opera Pepita Jiménez (Isaac Albéniz) are included in TRITÓ’s catalogue . The original English libretto was written by Francis Money-Coutts which and was based on a novel by Juan Valera.
In our first edition, the editor, José de Eusebio, worked with the third version from 1904 . The second version was edited by Borja Mariño who worked with the second version from 1896 (premiered in Prague).
On next October 28 th, the Teatro Argentino de la Plata will host three premieres: the American premiere of Pepita Jiménez, the world premiere of our second edition and the first performance in Argentina of a staging by Calixto Bieito.
The musical conductor will be Manuel Coves and the cast is formed by Nicola Beller Carbone conform, Enrique Ferrer, Adriana Mastrángelo, Victor Torres, Jose Antonio Garcia, Sebastian Angulegui, Francisco and Juan Pablo Labourdette Bugallo with the Coro y orquesta estables del Teatro Argentino.
The Argentinian premiere of Pepita Jiménez Argentina is possible thanks to the collaboration of Teatros del Canal (Madrid) and the Teatro Argentino de la Plata.
We look forward to receive good news from the Argentinian premiere of one of the most unknown and best scenycal works by Albeniz.
Catalunya still boasts a wide offer of summer festivals. It’s true that there is not always a clear programming policy, and all too often the proposals consist of presenting several concerts without a common theme or clear artistic focus, but the offer still stands, despite the crisis.
In the case of Barcelona, the situation is rather depressing. In fact, it is a city where classical music almost disappears in the summer. Only the Gran Teatre del Liceu offers a quality programme during July: the end of the season includes concerts of Tamerlane by Handel, with Plácido Domingo and Bejun Mehta in the cast, and Daphne, by Richard Strauss, with Pablo González making his debut at the Liceu at the helm of the OBC.
The Festival Grec has increased its classical offer, traditionally rather scarce, under the artistic direction of Ricardo Szwarcer, and forthcoming events include an opera concert with Ainhoa Arteta and the Cadaqués Orchestra under the baton of Jaime Martin, with Puccini featuring prominently in the programme.
Incidentally, the great Basque soprano has just released an extraordinary recital with the pianist Malcolm Martineau, which is her debut with the prestigious Deutsche Grammophon label. The repertoire includes pieces by Charles Gounod, Georges Bizet, Reynaldo Hahn and an exciting section devoted to the great Spanish song repertoire including the Cinco canciones negras by Xavier Montsalvatge, four Tonadillas al estilo antiguo, by Enric Granados and the Poema en forma de canciones, op. 19, by Joaquín Turina.
Fortunately, despite the crisis, many summer festivals remain active, but the compulsive search for new audiences and the blind obsession with eclecticism as a programming formula has swept away many of the hallmarks of some of the most traditional venues.
The same cannot be said of the classical offer at the Auditori – reduced to its minimum expression, although this year the Sónar has included a magnificent homage to Steve Reich – or the Palau de la Música Catalana, with an offer exclusively intended to attract tourists.
Fortunately, despite the crisis, many summer festivals remain active, but the compulsive search for new audiences and the blind obsession with eclecticism as a programming formula has swept away many of the hallmarks of some of the most traditional venues. Where once classical music reigned supreme – because most festivals around Catalonia began as festivals specializing in classical music – world music, jazz, pop and other genres now share the limelight.
The trend is not necessarily bad, but caution is needed and the occasional mega concert in search of mass audiences is not to be entirely trusted. One thing is to harness the pull of the media stars so as to be able to display the sold-out sign, something legitimate and commendable, and another thing is to overlook the rest, the promotion of new values and local productions as a sign of identity. In this sense, we can applaud the consistency, rigour and unquestionable quality of the Torroella de Montgrí International Festival of Music and also celebrate the 25th anniversary of the Festival Castell de Peralada, which this year returns to its origins with a sensational programme focused on opera.
This summer also counts on two new events, conceived with the idea of supporting very distinct artistic proposals. On the one hand, the Festival de Música Antiga dels Pirineus has been launched with plenty of momentum, fruit of the joint efforts of different institutions in the Pyrenees. Its programming policy is clear and attractive: drawing on the beauty of the rich architectural heritage in the area and its suitability as a backdrop for early music, in order to offer evenings with musical personality, presented by the best bands and singers specialised in the historical performance of the early and baroque repertoire . And, importantly, the idea is to make it a key event for both the international promotion of the best Catalan ensembles and soloists and the dissemination of our musical heritage.
The second proposal also combines architectural beauty with music and includes gastronomy as a novel incentive. This is the Modernist soirees in the unique setting of the Monestir de San Benet, a proposal that offers visitors the chance to enjoy a concert of “Modernist” music in the monastery cellars and, optionally, during the same evening visit the “Modernist” space dedicated to Ramon Casas at Món Sant Benet and enjoy supper in the gardens.
There are things that stir the music-lover’s memory, which bring back reminiscences of that irreplaceable experience which consists of listening to live music in its natural environment, the auditorium. For many fans, the recent recording of the symphonic rhapsody Catalonia, by Isaac Albéniz, at the hands of Jaime Martin and the Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC) will come as a pleasant surprise: the discovery of a score that exudes freshness, simplicity and melodic charm. For others, it will imply the rediscovery of a work that would be an obligatory part of the concert repertoire in any civilized country, but here, sadly, is not.
Its audition allows listeners to refresh their impressions and memories of great conductors and composers who, throughout their careers, demonstrated their belief in the value of this piece by their acts, without getting caught up in the widespread and sterile debate about Albéniz’s poor reputation as an orchestrator. Certainly, it is a marvel of refinement, but, when performed with full conviction of its merits, the listener is immediately captivated by the simplicity, the melodic inspiration and eternal freshness that permeate the Catalan composer’s music.
I am speaking of legendary musicians, such as the Russian Igor Markévitch, especially in his wonderful period of artistic involvement with the Orquesta Sinfónica de la RTVE; the Romanian Georges Enescu, stalwart defender of a piece that he often programmed, and all over the world; and Eduard Toldrà, the brilliant Catalan violinist, conductor and composer who, in 1944, created the Orquestra Municipal de Barcelona (now the OBC, which has at last recorded Catalonia), and who was a fervent promoter of the Spanish repertoire.
A greater commitment to music is needed and less obsession with attendance figures and box office takings.
There is a need for concert programmers who really believe in Spanish music.
The list includes musicians who are active at this time, such as Antoni Ros Marbà, a passionate perfomer of Albéniz and, in a very special way, of Toldrà, who was his teacher, Jesús López Cobos and José de Eusebio (thanks to his enthusiasm we now know more about the Camprodón musician’s operatic legacy than ever before; the recording discussed today includes an orchestral suite from Pepita Jiménez revised by him), and on his first CD with the OBC, Jaime Martin,
Albéniz had and has eloquent supporters. Why, then, is Catalonia still rarely heard in concert halls? Difficult question. First of all, there is a need for concert programmers who really believe in Spanish music. It is pointless to include just four or five pieces in a whole symphonic season; nor is the Spanish share of the programmes sufficient; nor are there enough commissions, increasingly unambitious and scarce. A greater commitment to music is needed and less obsession with attendance figures and box office takings.
There is enough leeway to balance the offer using the more popular classics to attract the general public –it all depends on the programmers’ imagination. The regularisation of works such as Catalonia – and this piece is just one example because there are hundreds of scores in the same situation – requires a strong alliance between performers, programmers and the public.
The musicians with power – and the chief conductors of a symphonic ensemble have a lot of power – are the ones who ultimately have a greater say when it comes to choosing which works are programmed and which are left out: when a chief conductor wants to play a given piece, eventually it gets played.
Programmers, managers and artistic directors should limit themselves to doing their duty, because the revival and dissemination of the national repertoire is an obligation for all orchestras, auditoriums and the concert-going public.
As for the public, the greatest possible complicity is needed, using the media that now, more than ever, can arouse – if used with imagination and efficiency – music-lovers’ curiosity, the desire to discover new and old scores, the possibility of expanding frontiers.
As part of the European tour of the musicianand researcher John Doan, associate professor at the Willamette University in Salem (Oregon, USA), the Sor Society of Barcelona (SSB) has organised, in conjunction with the Barcelona Museum of Music, a seminar (conference and recital) on Fernando Sor and his decisive role in the evolution of the guitar and other plucked string instruments.
The Catalan Fernando Sor (Barcelona 1778 – Paris 1839), besides being one of the leading composers in Spain during the transitional period between Classicism and Romanticism, was the musician who, thanks to his works and performances, raised the guitar to the category of concert instrument in the “cultured” world of international music. What is less known is that Sor also played a decisive role in the technical development of the guitar, through his contacts with the most important luthiers of his epoch.
In addition, Sor also composed for an instrument invented at that time: the harpolyre (a guitar with three necks and 21 strings). After the conference we will be able to listen to these pieces for the first time in Europe after almost a century of neglect, thanks to the arrangements made by John Doan.
A well known figure on the Celtic music scene today, John Doan will also play some pieces on the harp guitar, his usual instrument.
For further information on the session at the Museum of Music >
Josep Pla was of the opinion that music should be systematically understandable: “if necessary, to the point of sheer vulgarity, mud and bricks and that’s it.” The operetta genre lends itself more freely to this description than others, or to put it in a more pedantic and euphemistic way, this excess of comprehensibility.
Using an eccentric libretto that situates the action on the coast of Greece (a circumstance that determines the names of some characters but has no influence on the music, unless it’s the abundance of Phrygian cadences) Isaac Albéniz complies effectively with the customs of Victorian operetta.
Now, in a magnificent edition by Borja Mariño, this work is newly available and we have the opportunity to approach it with a full and thorough knowledge of the facts. Forget any condescension towards the genre, though: it is more than likely that “The Magic Opal” has moments of ambivalent simplicity in store for us, unbearable and delicious at the same time.